![]() ![]() ![]() There are traces attested in the scholarship of the fourth century B.C., where proponents of a rhythmical approach to poetry had an ongoing argument with proponents of a metrical approach. ![]() This conventional distinction has a long history. The semantic differentiation between poetry and song affects the nomenclature of constituent elements common to these two differently perceived media: for example, whereas poetry is said to have meter, song has rhythm. The Genesis of Athenian State Theater and the Survival of Pindar’s PoetryĪppendix. Authority and Authorship in the Lyric Traditionġ3. The Ainos as Song or Speech: Pindar and Herodotus IIIġ2. The Charms of Tyranny: Pindar and Herodotus IIġ1. The Authority of Historiā and the Sign of the Heroġ0. The Authoritative Speech of Prose, Poetry, and Song: Pindar and Herodotus Iĩ. Epic, Praise, and the Possession of PoetryĨ. The Ordeal of the Athlete and the Burden of the PoetĦ. Pindar’s Olympian 1 and the Aetiology of the Olympic Gamesĥ. The Poetics of Panhellenism and the Enigma of Authorship in Early GreeceĤ. Oral Poetry and Ancient Greek Poetry: Broadening and Narrowing the TermsĢ. ![]() A Word on Assumptions, Methods, and Aimsġ. Gregory Nagy, Pindar’s Homer: The Lyric Possession of an Epic Past ![]()
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